#adampendleton

@mumok_vienna mumok Adam Pendleton. #adampendleton Blackness, White, and Light #opening Eröffnung: Donnerstag, 30. März 2023 | 19 Uhr Begrüßung durch Direktorin Karola Kraus @karola_kraus #curator @confessionofanartaddict kuratiert von Marianne Dobner #exhibition Ausstellung: 31. März - 3. September 2023 Dienstag - Sonntag: 10 -18 Uhr Museumsplatz 1, A-1070 Wien https://www.mumok.at/de/events/adam-pendleton-blackness-white-and-light https://estherartnewsletters.com/2022/12/16/mumok_2023/ (hier: mumok - Museum moderner Kunst Wien) https://www.instagram.com/p/CqXcFClMsnr/?igshid=NGJjMDIxMWI=

Spotted at the @whitneymuseum in synch with the Whitney Biennial! We are proud to see our name on the spine of 'As Heavy as Sculpture,' Adam Pendleton's 480-page artist's book exploring the language of protest.⁠ ⁠ Read more about the book via linkinbio.⁠ ⁠ @pendleton.adam #adampendleton #adampendletonheavyassculpture #heavyassculpture https://www.instagram.com/p/CeJdJvfLzJP/?igshid=NGJjMDIxMWI=

A travelling nun stood for hours in front of Adam Pendleton’s “Who Is Queen?” installation in Moma’s atrium. She was watching a video collage that featured “Resurrection City, a 1968 ad-hoc city set up on the National Mall, Washington DC, to demand the elimination of poverty”. Watercolor, 2021. #moma #adampendleton #whoisqueen #watercolor #aquarelle #fredericlere (at MoMA The Museum of Modern Art) https://www.instagram.com/frederic_lere/p/CXRSKCHuvB-/?utm_medium=tumblr

A serious review of 'Adam Pendleton: Who Is Queen?' and the 'Who Is Queen' reader from @themuseumofmodernart⁠ is up now @aigaeyeondesign via linkinbio.⁠ ⁠⁠ @marcuscivin writes, "Pendleton’s extensive use of handwriting and typography suggests productive and subversive interrelationships between typography, language, and protest. His works call attention to the abstract potential of language by examining how it can suggest and refuse meaning. The intensity of the graffiti-influenced writing is perhaps even a challenge to any supposedly clear, cool, neutral typography. Where Pendleton repeats letterforms and words or writes them on top of each other, he communicates various disaggregated versions of truncated, pensive phrases like “not the way,” “but now I am,” and “we are not.” His treatment of text expresses doubt and musicality while also reflecting the development of individual and collective identity.…⁠ ⁠ A nearly 300-page book, 'Adam Pendleton: Who Is Queen? A Reader,' accompanies the MoMA exhibition. It resembles a University course reader and a designer’s process book and includes influential thinkers who linger on abstraction and the complexities of political histories and language. It asserts that Pendleton is as much a book designer as a painter and video maker. Sections of text in the reader switch from black letters on white backgrounds to white letters on black backgrounds. A casually xeroxed text might be surrounded or interrupted by copies of painted pages. Within a text, a page might repeat but be covered in geometric shapes. There are photographs of 1968’s Resurrection City, part of the Poor People’s Campaign and a precursor to the Occupy movement. The photographs show plywood shelters in Washington, DC, on the National Mall where activists demanded more federal support, writing messages of hope and determination on the plywood and on posters.…"⁠ ⁠ Product shots courtesy @pendleton.adam⁠ ⁠ #adampendleton #whoisqueen #blackdada @stuartcomer @adynyc @mario_gooden_thisishowwework @virtuosa12 @tillman_glossitis https://www.instagram.com/p/CWTRfwXFfJS/?utm_medium=tumblr

An extensive review of 'Adam Pendleton: Who Is Queen?' at MoMA is up now @4columnsmag⁠ ⁠ @evan_and_hell writes, "Like much of Pendleton’s earlier work, 'Who Is Queen?' is dizzying in its erudition; its references are cited in a curatorial didactic, extended wall labels, and a doorstop reader.… Pendleton’s refusal to elaborate his sources within the work itself—and, in some cases, his attempts to partially obscure those sources by layering them—aligns the piece with scholars such as Moten and Frank B. Wilderson III, who have repeatedly insisted on the right of Black subjects to not be understood."⁠ ⁠ Read the full review via linkinbio.⁠ ⁠ The 'Adam Pendleton: Who Is Queen? (A Reader)' is a new release this week from @themuseumofmodernart⁠ ⁠⁠ Edited by Adam Pendleton with Alec Mapes-Frances. Introduction by Stuart Comer. Text by Adrienne Edwards, Mario Gooden, Danielle A. Jackson, Adam Pendleton, Lynne Tillman.⁠ ⁠ Product shots courtesy @pendleton.adam⁠ ⁠ #adampendleton #whoisqueen #blackdada @stuartcomer @adynyc @mario_gooden_thisishowwework @virtuosa12 @tillman_glossitis https://www.instagram.com/p/CVx6NEkJKwB/?utm_medium=tumblr

Spreads from 'Adam Pendleton: Pasts, Futures, and Aftermaths, Revisiting the Black Dada Reader,' published by @daba_press & @buchhandlungwaltherfranzkoenig⁠ ⁠ In 2011, Pendleton (born 1984) assembled 'Black Dada Reader,' a compendium of texts, documents and positions that elucidated a practice and ethos of "Black Dada." Resembling a school course reader, the book was a spiral-bound series of photocopies and collages, originally intended only for personal reference, and eventually distributed informally to friends and colleagues. The contents—an unlikely mix of Hugo Ball, W.E.B. Du Bois, Adrian Piper, Gertrude Stein, Sun Ra, Stokely Carmichael, Gilles Deleuze—formed a kind of experimental canon, realized through what Pendleton calls "radical juxtaposition." In 2017, Koenig Books published the 'Reader' in a hardcover edition, with newly commissioned essays and additional writings by the artist. A decade later, Pendleton has composed another reader, building upon the constellation of writers, artists, filmmakers, philosophers and critics that emerged in the first volume.⁠ ⁠ Source texts by Sara Ahmed, Mikhail Bakhtin, Toni Cade Bambara, Amiri Baraka, Augusto de Campos, Hardoldo de Campos, and Décio Pignatari, Angela Davis, Gilles Deleuze, Julius Eastman, Adrienne Edwards, Clarice Lispector, Achille Mbembe, Philippe-Alain Michaud, Charles Mingus, Piet Mondrian, Leslie Scalapino, Leonard Schwartz and Michael Hardt, Juliana Spahr, Cecil Taylor and Malcolm X.⁠ ⁠ We recommend this as supplementary reading for 'Adam Pendleton: Who Is Queen,' currently on view @themuseumofmodernart — whose official MoMA Reader releases October 12.⁠ ⁠ Read more via linkinbio.⁠ ⁠ #adampendleton @pendleton.adam #pastsfuturesandaftermaths #blackdada #blackdadareader https://www.instagram.com/p/CULeUDyJB_S/?utm_medium=tumblr

Images from 'David Adjaye Adam Pendleton,' published by @pacegallery to complement 'Adam Pendleton: Who Is Queen,' the show currently on view @themuseumofmodernart — whose official Reader releases October 12.⁠⁠ ⁠⁠ This new volume, designed in collaboration with American artist Adam Pendleton (born 1984) and Ghanaian British artist and architect David Adjaye (born 1966), explores the blurred boundary between art and architecture. Featuring new silkscreen canvases by Pendleton and marble sculptures by Adjaye, this publication brings the artists and their works into conversation. The two collaborators discuss their respective practices and their process of working together on the creation of the exhibition at Pace, as well as notions of history, language, abstraction and space—whether architectonic or on canvas—and how these themes involve and reveal themselves in their work. Images of finished artworks are interspersed with photographs of their production, giving a behind-the-scenes look at process, from the quarrying, cutting and polishing of marble for Adjaye’s works to the meeting of ink and canvas in Pendleton’s studio.⁠⁠ ⁠⁠ Read more via linkinbio.⁠⁠ ⁠⁠ #davidadjaye @adjaye_visual_sketchbook #adampendleton @pendleton.adam #adjayependleton https://www.instagram.com/p/CULFX95pSIP/?utm_medium=tumblr

Images from 'Adam Pendleton: As Heavy as Sculpture,' an artist's book exploring the language of protest, released this week from D.A.P. Publishing.⁠⁠ ⁠⁠ This volume follows Pendleton's 2021 installation of the same title, exhibited @newmuseum in New York. The book collects, repeats and processes over 80 source collages, incorporating drawings, sketches, writing and marks, often in combination with images.⁠⁠ Much of the language in the collages is drawn from the protests against police brutality that swept the US in 2020: Pendleton has transcribed slogans sprayed on walls and windows, combining them with his own improvised language as well as photographs of art objects and artifacts (sculptures, masks and figures). The work points to the poetic pressure that uprisings place on language itself, compressing it in some cases into the barest of forms: simple sequences like “ACAB” or “1312,” further reducible to the elements “A, B, C,” “1, 2, 3.”⁠⁠ ⁠⁠ In parallel with these operations of decomposition and recomposition, the collages in 'As Heavy as Sculpture' have been duplicated, laid out across 30 sheets and folded into book signatures, creating new displacements and cuts. This folding is in effect a chance operation, a procedure of recombination and translation, resulting in arrangements of images not planned out in advance.⁠⁠ ⁠⁠ Supplementary reading for 'Who Is Queen,' the show currently on view @themuseumofmodernart whose official Reader releases October 12.⁠⁠ ⁠⁠ Read more via linkinbio.⁠⁠ ⁠⁠ #adampendleton @pendleton.adam #heavyassculpture https://www.instagram.com/p/CUKv514F80x/?utm_medium=tumblr